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Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
The Fashion Runway Through a Critical Race Theory Lens
THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION .................................................................................................................. -
Techniques of Fashion Earrings Pdf, Epub, Ebook
TECHNIQUES OF FASHION EARRINGS PDF, EPUB, EBOOK Deon Delange | 72 pages | 01 Sep 1995 | Eagles View Publishing | 9780943604442 | English | Liberty, Utah, United States Techniques of Fashion Earrings PDF Book These stunning geometric earrings are perfect for a night out on the town or a shopping trip with the girls. And even if you don't go straight over your pencil lines, just kind of go with the flow; let your body feel it as you go. Trends influence what all of us wear to some extent, which is fine. Brendan How to draw human body for fashion design? Do share with us your creations! Two completely different looks, one set of clothe. Spice up some simple silver hoops with this awesome video tutorial for how to make bead earrings. You'll end up losing yourself. My advice? Make a note of the combinations you like if that helps to trigger your memory later. Stringing beads on multiple wires. The days of only wearing one tone of metal is over. When it comes to DIY jewelry, beaded earrings are some of the prettiest patterns out there. As an illustration, one pair of earring contains three hanging flowers: gentle pink, pale purple, and deep purple. Your email address will not be published. Tutorial Features: This beaded Christmas tree pattern will teach you how to make peyote stitch earrings and a peyote stitch necklace. All these bangle styles may be worn in one or each arms relying in your outfit, model and occasion. Eco-friendly jewellery. Try some dangling pearl earrings with a summer print for a fun and flirty look. -
JEWELLERY TREND REPORT 3 2 NDCJEWELLERY TREND REPORT 2021 Natural Diamonds Are Everlasting
TREND REPORT ew l y 2021 STATEMENT J CUFFS SHOULDER DUSTERS GENDERFLUID JEWELLERY GEOMETRIC DESIGNS PRESENTED BY THE NEW HEIRLOOM CONTENTS 2 THE STYLE COLLECTIVE 4 INDUSTRY OVERVIEW 8 STATEMENT CUFFS IN AN UNPREDICTABLE YEAR, we all learnt to 12 LARGER THAN LIFE fi nd our peace. We seek happiness in the little By Anaita Shroff Adajania things, embark upon meaningful journeys, and hold hope for a sense of stability. This 16 SHOULDER DUSTERS is also why we gravitate towards natural diamonds–strong and enduring, they give us 20 THE STONE AGE reason to celebrate, and allow us to express our love and affection. Mostly, though, they By Sarah Royce-Greensill offer inspiration. 22 GENDERFLUID JEWELLERY Our fi rst-ever Trend Report showcases natural diamonds like you have never seen 26 HIS & HERS before. Yet, they continue to retain their inherent value and appeal, one that ensures By Bibhu Mohapatra they stay relevant for future generations. We put together a Style Collective and had 28 GEOMETRIC DESIGNS numerous conversations—with nuance and perspective, these freewheeling discussions with eight tastemakers made way for the defi nitive jewellery 32 SHAPESHIFTER trends for 2021. That they range from statement cuffs to geometric designs By Katerina Perez only illustrates the versatility of their central stone, the diamond. Natural diamonds have always been at the forefront of fashion, symbolic of 36 THE NEW HEIRLOOM timelessness and emotion. Whether worn as an accessory or an ally, diamonds not only impress but express how we feel and who we are. This report is a 41 THE PRIDE OF BARODA product of love and labour, and I hope it inspires you to wear your personality, By HH Maharani Radhikaraje and most importantly, have fun with jewellery. -
HISTORY and DEVELOPMENT of FASHION Phyllis G
HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms. -
School of Fashion Program Brochure
School of Fashion academyart.edu SCHOOL OF FASHION Contents Program Overview ...................................................5 What We Teach ......................................................... 7 Faculty .....................................................................11 Degree Options ..................................................... 15 Our Facilities ........................................................... 17 Student & Alumni Testimonials ........................... 19 Partnerships ......................................................... 23 Career Paths ......................................................... 25 Additional Learning Experiences ......................... 27 Awards and Accolades ......................................... 29 Online Education ................................................... 31 Academy Life ........................................................ 33 San Francisco ....................................................... 35 Athletics ................................................................ 37 Apply Today .......................................................... 39 3 SCHOOL OF FASHION Program Overview As a student at Academy of Art’s School of Fashion, you can go after the fashion career of your dreams. Aspiring designer? Learn to turn your fashion concepts into relevant, responsible, and beautiful work. More interested in the business of fashion? Future entrepreneurs thrive in our fashion-specific business and communications programs. FIND YOUR PLACE WHAT SETS US APART Academy -
Logo & Graphic Guidelines
ISSUED BY: CALVIN KLEIN GLOBAL MARKETING GROUP, 2ND FLOOR, 205 WEST 39TH STREET, NEW YORK v01 Logo & Graphic Guidelines v01 06.16.2017 1 v01 Contents A Introduction B Logo Usage Guidelines C Klein Font Guidelines A1 How To Use These Guidelines B1 Master Brand Logo C1 Introduction A2 Brand Ethos, Peter Saville B2 By Appointment Logo C2 Font Assets and Files Klein Roman style fonts A3 Calvin Klein: Past & Present B3 205 Logos: Klein Italic style fonts 205 Stacked Logo Klein Condensed style fonts A4 Logo Architecture Chart 205 Horizontal Logo C3 Font Usage Guidelines B4 CK Calvin Klein Logo CK Calvin Klein Stacked Logo C4 Glyph Chart CK Calvin Klein Horizontal Logo B5 Better Sportswear & Classifications Logo B6 Jeans Logos: Premium Jeans Logo Master Jeans Logo B7 Underwear Logos: Premium Underwear Logo Master Underwear Logo Off Price Underwear Logo B8 Swimwear Logos: Premium Swimwear Logo Mainline Swimwear Logo B9 Performance Logos: Premium Performance Logo Mainline Swimwear Logo B10 Golf Logo B11 Home Logo B12 Watches and Jewelry Logo B13 Fragrance Logos Premium Fragrance Logo Mainline Fragrance Logo 2 B14 Outlet Logo A1 CONFIDENTIALITY CLAUSE v01 Confidentiality Clause The artwork and information contained herein and attached hereto, including, without limitation, the new logomarks, monograms, and Klein font library is highly confidential and proprietary information of PVH Corp. and Calvin Klein, Inc. (collectively, the “Company”). This information may not be discussed, disclosed or shared by you with anyone inside or outside the Company, other than the people who are receiving this communication. Any disclosure of the images or information by you may result in disciplinary action against you by the Company, up to and including termination of employment, and could also result in legal action. -
Cautionary Statement
MARCH 2014 CAUTIONARY STATEMENT Forward-Looking Statements This presentation includes forward-looking statements. These forward-looking statements reflect the Company’s current views with respect to, among other things, its future operations and financial performance; expected growth; its ability to support its planned business operation on a near- and long-term basis and its outlook for the remainder of the fiscal year ending June 30, 2014. These forward-looking statements are generally identified by words or phrases, such as “anticipate”, “estimate”, “plan”, “project”, “expect”, “believe”, “intend”, “foresee”, “forecast”, “will”, “may”, “should,” “outlook,” “continue,” “intend,” “aim” and similar words or phrases. Although we believe that the expectations reflected in the forward-looking statements are reasonable, we cannot guarantee future results, events, favorable circumstances or conditions, levels of activity or performance. Reported results should not be considered an indication of future performance, and actual results may differ materially from the results predicted due to risks and uncertainties including (1)the Company’s ability to achieve our global business strategy and compete effectively in the beauty industry; (2) the Company’s ability to anticipate, gauge and respond to market trends and consumer preferences, which may change rapidly; (3) the Company’s ability to identify suitable acquisition targets and managerial, integration, operational and financial risks associated with those acquisitions; (4) risks related to our -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
3 Trademarks Licensed in Perpetuity Trademark Territory Calvin Klein
Trademarks Licensed inPerpetuity Trademark Territory Calvin Klein Jeans and CK/Calvin Klein Jeans (for retail Western Europe including Ireland, Great Britain, 12/31/2046 stores Selling men’s/women’s/children’s jeans and jeans France, Monte Carlo, Germany, Spain, Portugal, related Products and ancillary products bearing the Andorra, Italy, San Marino, Vatican City, Calvin Klein marks) (d) Benelux, Denmark, Sweden, Norway, Finland, Austria, Switzerland, Lichtenstein, Greece, Cyprus, Turkey and Malta and parts of Eastern Europe namely, Hungary, Czech Republic, Poland, Bosnia Herzegovina, Croatia, Serbia, Slovenia, Romania, Bulgaria, Slovak Republic, Macedonia, Moldavia, Lithuania, Latvia, Estonia, Ukraine, Belorussia, Russia, (C.I.S.), Georgia, Armenia, Azerbaijan, Kazakhstan, Uzbekistan, the Middle East (including Egypt, Lebanon, Israel, Palestine, Jordan, Syria, Saudi Arabia, Yemen, Qatar, Kuwait, Bahrain, Oman, UAE), South Africa, Tunisia, Botswana, Mozambique, Namibia, Swaziland, Zimbabwe; Asia, including Japan, People’s Republic of China (or “China”), South Korea and “Rest of Asia” (Hong Kong, Thailand, Australia, New Zealand, Philippines, Taiwan, Singapore, Malaysia, Indonesia, New Guinea,Vietnam, Cambodia, Laos, Myanmar, Burma, Macau and the Federated State of Micronesia, Mongolia),India Trademarks Licensed for a Term Trademark Territory Expires(h) CK/Calvin Klein (for independent or common internet Europe and Asia 12/31/2046 sites for the sale of jeanswear apparel and/or jeanswear accessories) (d) CK/Calvin Klein (for independent -
ADDENDUM (Helps for the Teacher) 8/2015
ADDENDUM (Helps for the teacher) 8/2015 Fashion Design Studio (Formerly Fashion Strategies) Levels: Grades 9-12 Units of Credit: 0.50 CIP Code: 20.0306 Core Code: 34-01-00-00-140 Prerequisite: None Skill Test: # 355 COURSE DESCRIPTION This course explores how fashion influences everyday life and introduces students to the fashion industry. Topics covered include: fashion fundamentals, elements and principles of design, textiles, consumerism, and fashion related careers, with an emphasis on personal application. This course will strengthen comprehension of concepts and standards outlined in Sciences, Technology, Engineering and Math (STEM) education. FCCLA and/or DECA may be an integral part of this course. (Standards 1-5 will be covered on Skill Certification Test #355) CORE STANDARDS, OBJECTIVES, AND INDICATORS Performance Objective 1: Complete FCCLA Step One and/or introduce DECA http://www.uen.org/cte/facs_cabinet/facs_cabinet10.shtml www.deca.org STANDARD 1 Students will explore the fundamentals of fashion. Objective 1: Identify why we wear clothes. a. Protection – clothing that provides physical safeguards to the body, preventing harm from climate and environment. b. Adornment – using individual wardrobe to add decoration or ornamentation. c. Identification – clothing that establishes who someone is, what they do, or to which group(s) they belong. d. Modesty - covering the body according to the code of decency established by society. e. Status – establishing one’s position or rank in comparison to others. Objective 2: Define terminology. a. Common terms: a. Accessories – articles added to complete or enhance an outfit. Shoes, belts, handbags, jewelry, etc. b. Apparel – all men's, women's, and children's clothing c. -
VTE Framework: Fashion Technology
Massachusetts Department of Elementary & Secondary Education Office for Career/Vocational Technical Education Vocational Technical Education Framework Business & Consumer Services Occupational Cluster Fashion Technology (VFASH) CIP Code 500407 June 2014 Massachusetts Department of Elementary and Secondary Education Office for Career/Vocational Technical Education 75 Pleasant Street, Malden, MA 02148-4906 781-338-3910 www.doe.mass.edu/cte/ This document was prepared by the Massachusetts Department of Elementary and Secondary Education Mitchell D. Chester, Ed.D. Commissioner Board of Elementary and Secondary Education Members Ms. Maura Banta, Chair, Melrose Ms. Harneen Chernow, Vice Chair, Jamaica Plain Mr. Daniel Brogan, Chair, Student Advisory Council, Dennis Dr. Vanessa Calderón-Rosado, Milton Ms. Karen Daniels, Milton Ms. Ruth Kaplan, Brookline Dr. Matthew Malone, Secretary of Education, Roslindale Mr. James O’S., Morton, Springfield Dr. Pendred E. Noyce, Weston Mr. David Roach, Sutton Mitchell D. Chester, Ed.D., Commissioner and Secretary to the Board The Massachusetts Department of Elementary and Secondary Education, an affirmative action employer, is committed to ensuring that all of its programs and facilities are accessible to all members of the public. We do not discriminate on the basis of age, color, disability, national origin, race, religion, sex, gender identity, or sexual orientation. Inquiries regarding the Department’s compliance with Title IX and other civil rights laws may be directed to the Human Resources Director, 75 Pleasant St., Malden, MA 02148-4906. Phone: 781-338-6105. © 2014 Massachusetts Department of Elementary and Secondary Education Permission is hereby granted to copy any or all parts of this document for non-commercial educational purposes.